A grim scene awaits the nearly packed house of King Charles III, Coronado Playhouse’s current production of Mike Bartlett’s imagined account of the Prince of Wales’ future reign. Queen Elizabeth II – along with her long reign – has expired. At the funeral procession, ensconced nearly in the wings of the stage, Prince-cum-pre-coronated-King Charles looks on somberly. His mourning proves fleeting, however, when, in a private moment with the audience, he gleefully revels in finally securing his birthright as Monarch. But heavy is the head that is within sight of the crown, as seemingly everyone but Charles discovers when constitutional crisis takes center stage, and the monarchy itself hangs in the balance.
Originally written and performed in the U.K., the play won an Olivier Award and traveled across the pond to debut state-side on Broadway. It easily resonated with American audiences, picking up five Tony Award nominations before making its way to the west coast. This thoroughly British play, performed in blank verse with hints of Hamlet, Macbeth, and Richard II, could be seen as a modern-day Shakespearean best-of. The cast deploys its arsenal of Britishisms with all its might, despite misfiring with an inconsistent and non-specific range of accents that occasionally distract from the drama unfolding.
In the title role, Richard Rivera displays the flamboyant eccentricity for which Charles is known. But it is Christopher Pittman as the Prime Minister who reigns supreme as the foil to the King. Pittman inhabits his role with a studied concentration and restrained exasperation at the dangerous farce erupting before him. Andrew Walters bears an uncanny resemblance to his Prince William, who is torn between loyalty to his father and expected deference to government. While Charles struts, the Prime Minister frets, and both William and the audience wonder where it will all go. Perhaps Coronado’s own Julia Giolzetti as Princess Catherine has an idea.
Bartlett challenges us to grapple with the big questions of the day. He suggests that we all still live in a time of kings – whether in the U.K. or the U.S. – and, whether a constitution curtailing their power is enshrined on paper or in precedent, ultimately their rule will be subject to the assent of the people, or, at the very least, the optics of political maneuvers. “It kept me on my toes,” shared audience member Reyna Ayala. “It was a very fine production. Lots of twists and turns. It definitely gave a lot to think about, especially the role media plays to create and destroy the image of power.”
Surprisingly, it is the smaller, quieter story of the evolving relationship between Charles and William that strikes the most poignant notes. This very human tale of fathers and sons is as ageless as that of rulers and their subjects, and the play delicately and simultaneously builds tension within each realm.
Tickets: Coronado Playhouse Tickets
Playwright: Mike Bartlett
Director: Tyler Hewes
Director of Artistic Planning & Marketing: Vanessa Dinning
Dates: March 23 – April 22, 2018
Running Time: 2 hours 45 minutes (including intermission)
